Normnan Davies

When the new Halloween movie hits theaters in October 2018, it will have the distinction of being the first film in the series with creator John Carpenter’s direct involvement since 1982’s Halloween III: Season of the Witch. Carpenter serves on the new David Gordon Green-directed installment as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his three recent solo albums, Cody Carpenter and Daniel Davies.

The last decade of the 20th and the first decade of the 21st centuries have produced an array of astonishingly gifted countertenors who continue to set new standards of excellence and reveal possibilities for male singers performing in the traditional range of women who haven't been heard since the days of the castrati. Iestyn Davies doesn't have the spectacular instrument of some of the most dazzling countertenors of his generation but in his more modest way, he is no less impressive. His voice is pure, without a trace of the hollow hootiness that was once characteristic so many countertenors, and is absolutely secure and full from the bottom to the top of his range.

Young countertenor Iestyn Davies makes his highly anticipated Hyperion solo debut with an enchanting disc of cantatas by the Italian composer Nicola Porpora. Porpora s ability to set the Italian language to music was widely acknowledged during his lifetime and his music is full of imaginative word painting. Davies luminous tone has a celestial purity and he performs with prodigious technical assurance. His astonishing breath control creates a seamless melodic line. Davies is accompanied by the ensemble Arcangelo in interpretations that go far beyond mere historical understanding.

Peter Maxwell Davies - Symphonies (Collins Classics)
EAC Rip | OGG 8.3 - Bitrate: 295 kbps | M3u lists | No LOGs | 6 CD | 625 MB | 300dpi Covers
Genre: Contemporary - 20th Century | Label: Collins Classics

Hello buddies! This is no my rip but knowing that those cds are really hard to find at reasonable prices, I thought on sharing those ones despite they are not in lossless format. I also want to thank WMM, the original uploader for did a great rip and for allowing me to re-upload it here

ID Maxwell Davies Symphony No. 5". Five Klee Pictures". Chat Mossb. Cross Lane Fairb. 'Philharmonia Orchestra; BBC Philharmonic Orchestra / Sir Peter Maxwell Davies.
Collins Classics 0 CD 1460-2 (57 minutes: DDD).

Maxwell Davies's Fifth Symphony is his shortest yet, and his most accessible: it has fine tunes, powerful rhythmic impetus and grandeur of scale. It is also in some ways his most ambiguous. The accompanying notes suggest three ways of 'reading' it: as a fusion of the Beethovenian (stability/ instability) and Sibelian (slow growth from within) symphonic principles, as a mosaic of 34 'moments' that combine and interlock into larger structures, and as a single movement in two contrasting but linked halves. So far I've found the last the most useful: near the middle of the symphony, after a powerful climax, there is a still centre of hushed and very beautiful lyrical string writing. On second hearing you realize that there are kindred passages throughout the work, more frequent in the latter half, where they often punctuate music of striding vigour. It is a question of types of music rather than conventional 'subjects', and we can observe those types forming, growing and changing in a two-part structure that makes satisfying sense despite the fact that it is all development, with no 'recapitulation'. It is indeed a masterly postSibelian single movement, with moments of craggy splendour and driving energy at just the points where Sibelius would have put them. The sym phony's immediate impact is very powerful, but already at a second hearing it grows wonderfully. I seem to have been using the word 'masterpiece' quite a lot recently to describe Maxwell Davies's symphonies, but I've never been so confident of it as in this case. MED - Gramophone - June 1995

Debbie Davies doesn't play straight blues on All I Found, her eighth release as a bandleader and her first for Telarc Records, so much as a kind of blues-inflected country-pop somewhat reminiscent of Bonnie Raitt, only without Raitt's distinctive, drop-dead slide guitar technique. Make no mistake, Davies plays some solid guitar on this album (she got her start playing in Albert Collins' Icebreakers, after all), and she has Arthur Neilson on loan from Shemekia Copeland on second guitar to keep things sizzling on three cuts, but somehow under all that stellar guitar work, several of these songs seem a little tired, and "Troughin'," a humorous ditty about overeating, is downright irritating.

Of Time and the City - by Terence Davies (2008)

Terence Davies (1945- ), filmmaker and writer, takes us, sometimes obliquely, to his childhood and youth in Liverpool. He's born Catholic and poor; later he rejects religion. He discovers homo-eroticism, and it's tinged with Catholic guilt. Enjoying pop music gives way to a teenage love of Mahler and Wagner. Using archival footage, we take a ferry to a day on the beach. Postwar prosperity brings some positive change, but its concrete architecture is dispiriting. Contemporary colors and sights of children playing may balance out the presence of unemployment and persistent poverty. Davies' narration is a mix of his own reflections and the poems and prose of others.